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Carina Liedholm appeared as Sam in Club International (UK) 14-05, 1985-05, photog. Colin James. The first scan of that set shows, bottom-right, a quite distinctive spherical white lamp with a nude female form leaning backwards helping to hold the light up. That same lamp appears in some of the sets associated with the semi-circular window and coloured blinds that I have been associating with Peter Flodqvist, see here and following.

Some other Colin James credits are:

Jane Burroughs as Elise in CIUK 14-04, 1985-04
Greta Andersen as Bobby in CIUK 14-05, 1985-05
Greta Andersen as Juliette in CIUK 14-10, 1985-10
Jo in CIUK 15-04, 1986-04, see here. NB, the photog. credit here is in the toc.

The setting for Jo's pics. also seems to strongly resemble the semi-circular window setting--note the white stucco bench or shelf on which she leans and the metal fan. The fourth scan also shows just enough of the semi-circular arch across the top of the frame. The lamp beside Carina Liedholm, despite being quite distinctive, on its own remains rather tenuous, but I think coupled with this second pictorial's setting makes the link much more likely.

Possibly noteworthy: the first two models also appear in the listing here of models photog. by Robert Lorraine, which I've suggested is another probable aka for Peter Flodqvist.

edit: Another sighting of the Flodqvist blue fan, only this time outdoors!: Susanne Berglund as Aggi in Men Only 49-04, 1984-04, photog. Peter Flodquist. Scans thanks to Cream Cheese.

In Karen Thornton's set from Mayfair 21-05, 1986-05, credited to Peter Flodquist, one sees not only the customary metal bed frame (this time painted pink), but also a different floor: white tiles with small black squares at the corners/joins. The blinds have also been replaced by a white wooden screen similar to some window shutters.

That flooring and the white wooden screens are also visible in some of the sets from the Neues Satin no.05 magazine here, which as previously noted is all by Peter Flodqvist.

The set of Nicole in Knave 18-07, 1986-07, photog. Harry Smith, shown at Cream Cheese here shows a familiar metal bed frame (painted blue-grey), similar white wooden shutter-like screens, and, in the last scan, familiar white tiles with small black squares at the corners.

Club International (UK) ran several sets of Lalla Dean, most of them credited to Adam Cole or Fanny (which, as noted previously, I'm fairly sure are akas). One set, however, in CIUK 09-01, 1980-01, is instead credited to Rupert Daines, and yet when those very same images were reprinted in CIUK 10-09, 1981-09, they were credited once again to Fanny.

Something similar with Antonia Bell. Her pics. in Mayfair 19-12, 1984-12 are credited to Michael Moore and related pics. in CIUK 11-01, 1982-01 are likewise credited to Michel Moreau, but her earlier set in CIUK 10-07, 1981-07 was instead credited to Rupert Daines, despite it being clear they're from the very same (beach) sessions. There's even pics. of a different model photographed at the same sessions (i.e. group shots), Brigitte in CIUK 10-08, 1981-08, that are once again credited to Michel Moreau.

The model Cream Cheese calls Shelley. Her first set in CIUK 12-03, 1983-03 was credited to Michel Moreau but her second set in CIUK 12-07, 1983-07 was instead credited to Rupert Daines, despite the fact that the pics. are from the same or closely-related sessions--note the yellow and white chair on the beach common to both, and in some pics. I think she's also wearing the same earrings. The white slatted beach lounger with three green strips near the top is also common to both.

Another possible mix-up: Lee Ann Lee's set as Suzie in CIUK 12-09, 1983-09 is credited to Rupert Daines but looks very similar to the white slatted screens used in what we think are Peter Flodqvist sets, as well as the long-piled white carpet. The bed, though, is different.

Alice Cooper's set in Mayfair 20-07, 1985-07 is credited to Peter Flodquist. A different model, Helga in CIUK 13-02, 1984-02, is photog. in the same setting--note the spirals in the black metal barrier at the edge of the balcony, the round glass-topped white metal table, and the slightly rough white plaster wall--but it is instead credited to Rupert Daines. That same setting was also used for the pics. of Debbie Boyland in Mayfair 17-04, 1982-04, once again credited to Peter Flodquist--note also the dark (blue?) pattern tiles.

I don't think Rupert Daines and Michel Moreau are akas, and nor with Daines and Adam Cole | Fanny, or Daines and Flodqvist, either. So it's just frustrating inconsistency.

----

Now for a very slender possible connexion between K. K. Jones and Jack Rogers.

Both were frequently credited in Knave, and both started in that publication--perhaps coincidentally--with the 14-07, 1982-07 issue. That coincidence should not be over-read but it is still interesting that a similar pattern happened with Adam Cole & Fanny, with those two names also making a joint debut in a single issue of CIUK.

The possible connexion? In Knave 17-03, 1985-03, the sets of Lesley Harvey (by K. K. Jones) and Avril Jameson (by Jack Rogers) both show what looks like the same wooden-and-cane screen--note particularly the turned wooden pieces visible across the bottom of the screen. The only difference is that in one set the screen is photographed from the other side--cane to the front rather than to the rear.

- Rupert Daines: my opinion is now clear regarding this name: it should be put aside, at least when searching connections between photographer's names and aliases.
As you have noticed well, several photographs of Michel Moreau were credited to Daines in Club. In the same way, I also counted six different sets shot by Serge Jacques ("Night", Brigitte, Jennifer, Terri, "Whirly birds", "Bermuda") and another one of Brigitte Lahaie by Patrice Dohollo, all published under Daines' name.

In fact, considering just a single year of published work of Daines, you can see that he was able to make pictures of every kind of the existing styles: French, British, Scandinavian, US and so on... A sort of "total photographer", who curiously didn't mark his name in the history of photography...
That is why I personally rank "Rupert Daines" amongst the same "Phony names & Generic alias", just like Fanny. Since I still don't understand why such shared made-up names were so often used instead of real names (or "real" aliases), I would really like to know the reasons, some day.

That seems more like simply further evidence that Sass may have purchased some of Press' (or/aka Flodqvist's?) work. Do you understand how current/recent website appearances are different from two near-contemporaneous (past) mag. credits for related pictures? The website appearances may simply be evidence of purchase, rather than of akas. So too might be the case with some of the mag. akas, but I think not all of them.

I think there is, or was, a very small amount of work by Michel Moreau that appeared on website(s) generally associated with Stephen Hicks. Similarly a small amount of Hank Londoner's work is on Suze Randall's website. Name-Hunter here told us about some of Peter Flodquist's work being purchased and shown on Viv Thomas' website. None of those are signs of past akas. Instead they all simply denote commercial transactions.

In Antonia Burton-Smythe's thread are pics. from a couple of settings. The barn & riding "pink" (clothing, not colour) session shown in Mayfair 22-12, 1987-12, is credited to Allan Sass. Likewise Rikke in Sexy's Traumgirls, 1993, by Sass. Several other mags. show pics. from the same barn setting but we don't seem to have photog. credits for them.

In a different setting, with a yellow top and yellow-wheeled roller-skates, Moewig credits to Sass while Se og Hør (Dk), 1987 credits instead to Victor Bruun. They also name the model as Rikke Sørensen, which may yet prove to be a better name for her than the one-off Mayfair handle of Antonia Burton-Smythe as a couple of Moewig mags. also called her Rikke.

I have seen the name Victor Bruun several times in various mags. but do not currently have a proper grasp on his work or "era". There are three credits of his from Fiesta dating from 1977, while his first Mayfair credit is 1979. Those are the earliest instances I currently know of, but there may well be many others and perhaps earlier.

Yes, it's possible that there was a mag. credits mix-up. It's also possible that Sass purchased these pics. from Bruun... or even perhaps the other way around with Bruun as the purchaser, but the Se og Hør (Dk) credit to Bruun dates from 1987 which to me makes it rather different from when the conflicting/contrasting credits are on a current website--even sometimes from a website where there is some set code/number or other such signal acknowledging the different photographer source.

Fair warning: I can't corroborate any of this; I'm just passing along something I saw elsewhere on the 'net. These screen caps are from the movie Beauty and the Beast (1982). Supposedly the photographer we see at 24:01 and 25:52 is Rupert Daines.

Quote:

Originally Posted by Denaniel

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